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Egyptian artifact he viewed in a museum in Kansas City (he made a quick sketch and kept it for years before finding an opportunity to adapt the 4,500 year old design to a contemporary piece of furniture), and the faux bois painting was done by Georgia Wallsworth.
Yet another large dresser carries a seafaring motif. In the design, as well as the colors, it holds to that theme. The sea chest’s hardware, sculpted by Lee Robertson, also carry the seafaring motif: a mermaid, a school offish, a starfish.
The group effort put into a collaborative design, Mr. Kramer feels, “gives the piece something that it wouldn’t otherwise have.”
Though his pieces could easily be called eclectic, Mr. Kramer said they all still bear a “common thread. You can see Peter Kramer’s method in the pieces.” And there’s also evidence of his techniques: hand-planing, and certain proportions.
For the cabinetmaker, experience has taught him that there are some basic concepts he uses in nearly all of his designs, which for him function like tools. Some are as basic as lines, “the flow and grace of curves and surfaces.”
Quality is another important and essential element of his work. “It doesn’t come out right every time the first time — but we go back and correct it until we get it right.
“It is hard on the guys” in the shop, he admitted. “It’s really painful sometimes — to seek that little bit of extra that makes a statement . . . sometimes we’re shocked at the time and effort it requires to make simple things come out right.”
Legs, another concept, have become one of the hallmarks of his pieces. “In a a traditional presentation, you bounce off it like it’s not there. I try to design things that draw you in to the piece. People explore it, ask ‘What is this doing?’ and suddenly they are interacting with the piece.”
“Sometimes it’s hard to manage the themes,” he ad
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